In spring 2007, nine students in RISD’s Graphic Design Department spent several months developing new visual identity schemes for Martha’s Vineyard Museum in Massachusetts. An outgrowth of the Martha’s Vineyard Historical Society, the Museum houses a research library and a large collection of objects related to the island’s past, including artifacts documenting the history of whaling and paper records dating to the 17th century. In preparation for a capital campaign supporting a major new physical facility, the Historical Society sought RISD’s assistance in creating a fresh visual presence — one that reflects the Museum’s important role as both a repository of history and a contemporary cultural resource. A partnership was established between the Museum and RISD’s Division of Architecture + Design to support a multi-phase project: first, research into the context and requirements of a rebranding effort was conducted by Dawn Barrett, dean of Architecture + Design; Associate Professor Matthew Monk MFA ’91 GD, acting department head of Graphic Design; and graduate student Shawn Simmons MFA ’07 GD. This was followed by a semester-long project focused on developing comprehensive visual identity elements and schemes.

Under the guidance of Ootje Oxenaar, an internationally renowned designer and adjunct faculty member in the Graphic Design Department, students in the Identity Design studio generated focused identity systems through a process of research, concept development, refinement, presentation and group critique. Visits to Martha’s Vineyard provided inspiration for content, themes and color palettes, as well as an opportunity for students to discuss the project with members of the Museum board, including Executive Director Matthew Stackpole and Communications Committee Chair Leslie O’Brien. During the 12-week design concept development phase of the project, the designers considered how their ideas might translate to various applications — for example, communications and promotional materials, architectural signage and designs on vehicles. “Each student created two or three design directions, and five or six applications for each identity,” Monk explains. Brandon Miller ’99 GD/MFA ’07, the graduate teaching assistant for the course, provided support to Oxenaar and the students throughout the process.

As Barrett explains, the designers had to contend with contextual complexity and thematic challenges beyond the typical rebranding project: this assignment involved “a level of strategic planning unique to the requirements of a historically rich and socially embedded institution.” Students presented their individual proposals to the Communications Committee members of the Museum’s Board of Directors at the mid-development stage and again at an end-of-semester critique; judging by the positive response, the designers had clearly succeeded in meeting the challenge. “The quality of the staff and students, the work they produced, and the level of intellectual and technical effort could not have been higher,” said Stackpole.

In light of the “brilliant success” of the project and the quantity of “innovative and creative” identities proposed, O’Brien says, “the final selection was a difficult one for the committee to make.” The committee ultimately singled out three students for particular distinction: Design Distinction went to Ronit Cyjon ’08 GD and Jessica Walsh ’08 GD, and Highest Design Distinction was awarded to HRH Prince Carl Philip of Sweden (studying anonymously at RISD for the year), whose lighthouse design concept was selected for further development. The Museum expects to release the new design soon. “This experience not only provided us with terrific content,” Stackpole concludes, “it also educated and stimulated our understanding of the multiple levels on which identity design has to operate.”